New York

David Hannah

Ruth Siegel

Is it possible to compose a convincing, painterly abstract realm that incorporates figuration, landscape, and spatiality? Can these elements be used to evoke psychological dramas? David Hannah’s paintings not only raise these questions but answer them very differently than the work of, say, Gregory Amenoff, Louise Fishman, or Bill Jensen. In contrast to these artists, Hannah is more concerned with the possibilities of figuration. Abstract torsos made up largely of elongated lozenge and oval shapes hover in a landscape or roomlike realm, where the complex, often contradictory mood is determined as much by the various kinds of brushwork and color as by the relationship of geometric and biomorphic shapes to linear elements.

Reading the ovals synecdochically as figural presences is a key to interpreting the rest of the painting. Initially, we try to translate every shape into something familiar,

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